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There is no music on the OST album or 1998 expansion that is not on the LLL edition.
The only exception to that is if you count the disco version of the theme, that was added to some CD editions of the OST album
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What I kept my 1998 album for was the alternate mixes of "The Conversation" (there known as "Wild Signals") and "The Appearance Of The Visitors" (aka the first part "The Visitors/Bye/End Titles"), and the John Williams interview in the liner notes
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The only thing I liked better about the Arista presentation is Contact and End Titles are cross faded naturally as in the film. On the LLL, they are discrete, separate tracks.
Agreed, and I keep my Arista album as well.
In fact, two years ago I sold/unloaded a bunch of my older CDs that had doubled up over the years, but I actually regret it. Not so much because of the music (it was only albums I had "upgraded"), but I sold the "memories" with it. (I have many albums I can pick up and hold in my hand, and I get transferred back to the day/store where I bought it. Obviously, that works for albums I bought "somewhere", not so much for those ordered online.)
As far as Close Encounters is concerned, I have the original LP, the original Arista CD, the Arista 20th anniversary CD, and the LLL 40th anniversary edition, and I'm not going to part with any of them. It's one of my favorite film scores of all time.
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Posted: |
Mar 9, 2023 - 2:24 AM
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By: |
panavision
(Member)
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The only thing I liked better about the Arista presentation is Contact and End Titles are cross faded naturally as in the film. On the LLL, they are discrete, separate tracks.
Agreed, and I keep my Arista album as well.
In fact, two years ago I sold/unloaded a bunch of my older CDs that had doubled up over the years, but I actually regret it. Not so much because of the music (it was only albums I had "upgraded"), but I sold the "memories" with it. (I have many albums I can pick up and hold in my hand, and I get transferred back to the day/store where I bought it. Obviously, that works for albums I bought "somewhere", not so much for those ordered online.)
As far as Close Encounters is concerned, I have the original LP, the original Arista CD, the Arista 20th anniversary CD, and the LLL 40th anniversary edition, and I'm not going to part with any of them. It's one of my favorite film scores of all time.
Yes, another reason why I kept it.
I bought the Arista CD the day it was released. Rushed to Tower Records and it was the only copy they had. The lady at the desk said "You have been waiting for this release, haven't you?"
Talking nearly 25 years ago now.  Wow.
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Posted: |
Mar 11, 2023 - 10:04 AM
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By: |
roadshowfan
(Member)
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As a fan of John Williams, the score for CE3K and disco in general, I do find it a little irritating and perplexing that Williams would purposely block the inclusion of the disco 45 for the Anniversary edition. Even if he was unhappy with it at the time, having the privileged clout to erase your musical past is a worrying trend, especially in the case of Williams who as a young musician would have freely embraced many differing styles of music. It's as though he now regards himself as one of those po-faced classical artistes who have the same sniffy disdain for pop that many critics had for film scores several decades ago.
Disco is still a beloved genre for many and, just like Meco's Star Wars cover, the CE3K 45 very much reflects a particularly colourful period in both musical and film history, and for me the single neither deserves to be buried, or in any way taints Brand Williams. I would have been so delighted to have it on LLL's set. I'm just glad that Varese included it on their CD, so at least it is out there somewhere!
Sorry if I come across as a little grumpy. I just get annoyed when any artist starts getting precious and selective about their output. [Like the Pet Shop Boys refusing to have any of their tracks on '80s compilations as, so I understand, they don't wish to be seen as an '80s band, when that is precisely what they are!]
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As a fan of John Williams, the score for CE3K and disco in general, I do find it a little irritating and perplexing that Williams would purposely block the inclusion of the disco 45 for the Anniversary edition. Even if he was unhappy with it at the time, having the privileged clout to erase your musical past is a worrying trend, especially in the case of Williams who as a young musician would have freely embraced many differing styles of music. It's as though he now regards himself as one of those po-faced classical artistes who have the same sniffy disdain for pop that many critics had for film scores several decades ago.
Disco is still a beloved genre for many and, just like Meco's Star Wars cover, the CE3K 45 very much reflects a particularly colourful period in both musical and film history, and for me the single neither deserves to be buried, or in any way taints Brand Williams. I would have been so delighted to have it on LLL's set. I'm just glad that Varese included it on their CD, so at least it is out there somewhere!
Sorry if I come across as a little grumpy. I just get annoyed when any artist starts getting precious and selective about their output. [Like the Pet Shop Boys refusing to have any of their tracks on '80s compilations as, so I understand, they don't wish to be seen as an '80s band, when that is precisely what they are!]
hope Johnny is not getting snooty booty. I love the disco version
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For all we know, Mr. Williams had nothing to do with the disco single.
As fun as it is, Williams doesn't want it appended to his score album.
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Posted: |
Mar 12, 2023 - 9:07 AM
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By: |
Solium
(Member)
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As a fan of John Williams, the score for CE3K and disco in general, I do find it a little irritating and perplexing that Williams would purposely block the inclusion of the disco 45 for the Anniversary edition. Even if he was unhappy with it at the time, having the privileged clout to erase your musical past is a worrying trend, especially in the case of Williams who as a young musician would have freely embraced many differing styles of music. It's as though he now regards himself as one of those po-faced classical artistes who have the same sniffy disdain for pop that many critics had for film scores several decades ago.
Disco is still a beloved genre for many and, just like Meco's Star Wars cover, the CE3K 45 very much reflects a particularly colourful period in both musical and film history, and for me the single neither deserves to be buried, or in any way taints Brand Williams. I would have been so delighted to have it on LLL's set. I'm just glad that Varese included it on their CD, so at least it is out there somewhere!
Sorry if I come across as a little grumpy. I just get annoyed when any artist starts getting precious and selective about their output. [Like the Pet Shop Boys refusing to have any of their tracks on '80s compilations as, so I understand, they don't wish to be seen as an '80s band, when that is precisely what they are!]
They want Williams corruption with these releases so feel the need to respect his requests. I'm sure if they went solo they would've included it as a bonus track. To bad, I wish it was on there too.
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Posted: |
Mar 13, 2023 - 2:33 PM
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By: |
SchiffyM
(Member)
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As a fan of John Williams, the score for CE3K and disco in general, I do find it a little irritating and perplexing that Williams would purposely block the inclusion of the disco 45 for the Anniversary edition. Even if he was unhappy with it at the time, having the privileged clout to erase your musical past is a worrying trend, especially in the case of Williams who as a young musician would have freely embraced many differing styles of music.
By several accounts, he was never happy about this track. It's not like he ordered all copies destroyed. As you say, it's out there. He just didn't want it on his preferred presentation of his landmark score. I fully understand that impulse.
For what it's worth (not a lot), I have absolutely nothing against disco, but I don't think much of this particular track. That's not snobbiness, I just don't think it's a particularly inspired adaptation. I think maybe this abstract melody just doesn't lend itself to this kind of pop presentation.
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The "Inside" scene actually takes place in the middle of "Contact", not before it.
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